In the 21st century, architects are exploring more with form and materials. These architects go against Adolf Loos’s judgement on ornamentation with the use of wasted material, labor, and money. Although these architects are creating a need for a change in form, are they able to justify going against Loos’s theory on why ornamentation is unnecessary? Frank Gehry and Zaha Hadid are two architects that are able to represent their need for extravagant forms and materials and give reasoning behind their choice of ornamentation to oppose to Loos’s theory of why ornamentation is inconsequential.
Adolf Loos, an Austrian and Czech architect during the 1900s, focused on modern architecture. Loos is known for his simple and unadorned style that is …show more content…
Many of his buildings become attractions for people around the world and always stands out from the cities style. “By design attitude, we mean a thorough, ongoing expectation that each project is a new opportunity to create something remarkable, and to do it in a way that has never been done before.” In contrast to Loos’s view of wanting a building to blend in with its surrounding and creating a mute exterior, Gehry is inspired by the unique surrounding and landscape that can creates a powerful piece of architecture to represent the area. Gehry creates a space that interacts within the city of Bilbao for it’s citizens as well as its …show more content…
Gehry creates an interaction between the unique shapes he creates and the spatial relationships between the interior of his building. He focuses on the use of the space and wants an interactive space that visitors don’t have to conform to. In Gehry’s previous designs, he has had a problem with creating interior space and still being able to have complex geometric shapes. When exploring the form of the Guggenheim Museum, he creates requirements that are necessary for the buildings overall response to its context and program. “This includes functional requirements for current and future programs, for cultural characteristics of the organization, for efficiency of operation, for being a good neighbor, for the context and scale of the environment, and for the feelings and emotional reactions to living in or visiting the
Adolf Loos, an Austrian and Czech architect during the 1900s, focused on modern architecture. Loos is known for his simple and unadorned style that is …show more content…
Many of his buildings become attractions for people around the world and always stands out from the cities style. “By design attitude, we mean a thorough, ongoing expectation that each project is a new opportunity to create something remarkable, and to do it in a way that has never been done before.” In contrast to Loos’s view of wanting a building to blend in with its surrounding and creating a mute exterior, Gehry is inspired by the unique surrounding and landscape that can creates a powerful piece of architecture to represent the area. Gehry creates a space that interacts within the city of Bilbao for it’s citizens as well as its …show more content…
Gehry creates an interaction between the unique shapes he creates and the spatial relationships between the interior of his building. He focuses on the use of the space and wants an interactive space that visitors don’t have to conform to. In Gehry’s previous designs, he has had a problem with creating interior space and still being able to have complex geometric shapes. When exploring the form of the Guggenheim Museum, he creates requirements that are necessary for the buildings overall response to its context and program. “This includes functional requirements for current and future programs, for cultural characteristics of the organization, for efficiency of operation, for being a good neighbor, for the context and scale of the environment, and for the feelings and emotional reactions to living in or visiting the